Borkowski Weekly Media Trends 01-07-22
Does LinkedIn have a problem? | Beyonce breaks the internet | Another Captain Tom Foundation crisis | Love Island tactics - fame beyond the show
Is LinkedIn becoming basic?
This is an all-time first for Borkowski Trends.
We've never said this to anyone before…
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LinkedIn is becoming a cesspit of clickbait and toxic positivity.
Yes, social media platforms seem to have a lifespan much like that of the Roman empire: the first phase of rapid growth and excitement, a 'high' period of cultural cohesion and achievement, and a long decline marked by braying, invidious rivalries, and stabbing in the back. We love LinkedIn, so we hope it's not entering its third phase. But a timeline rife with toxic, cringe-inducing positivity and drive-by 'take-downs' in equal measure suggests otherwise.
Take one example from this week, when tech co-founder Carly Martinetti went viral as she claimed that Weber Shandwick stole her idea when they attempted to officially re-brand the Kidney Garden Spider as the Mr Pringles spider. She claimed her article, published in 2014 on the 'Featured Creature' website, was the first to make this observation.
Commenters were quick to point out that others made the observation earlier (to which Mrs Martinetti responded, 'looks like a class-action suit is in the works!'), but the truth remains: anyone looking at this spider could have come up with the Pringles comparison. Whoever pitched the idea in a brainstorm session might have come across a viral post years before and dimly or only half-remembering the connection. Is this not how creativity often works?
https://www.linkedin.com/posts/carly-martinetti-5949ab22_publicrelations-weboflies-activity-6947976508573425665-B_FC?utm_source=linkedin_share&utm_medium=member_desktop_web
The whole saga is a bit of a downer for a creative professional, showcasing both the limits of ownership over creative ideas and also laying bare the shortcomings of 'idea porn', i.e. what takes place when PR gather around a table to come up with the wackiest idea they can to promote a brand. But above all, it brings to light a worrying trend: if LinkedIn is a place for professional connections, it is also, apparently, increasingly a space for petty disputes to play out in the public domain, for hit and runs against big anonymous organisations, to gain leverage over opponents by threatening lousy PR.
Is the Mr Pringle idea a 'plagiarised lie'? Does the creative talent have a right to defend their ideas? There is a value to discussing these things, but LinkedIn doesn't leave much room for a discussion; the comments section offers a pile-on and thousands of 'applause' emojis. Adding to the pettiness, Mrs Marinetti tagged the CMO of Kellogg's (owner of Pringles), outing the creative team at Weber Shandwick for the alleged fraud. "Come talk to me if you want *original* ideas." Your move, Kelloggs.
It's not just the negative posts that make going on LinkedIn tedious. There is also a trend of oversharing, toxic positivity, and people sharing dark moments from their life with only a tendentious connection to their professional ethics. A Reddit community dedicated to 'LinkedIn' cringe has cropped up showcasing these bizarre clickbaits, which don't seem like they would reassure recruiters.
The LinkedIn timeline seems to reward oversharing because it's good for us to 'be ourselves' in the office. But surely being oneself with one's colleagues and a bunch of internet strangers is different. The latter is unprofessional. And given a choice between toxic positivity and a culture of 'leaving our personal lives at home', perhaps we should take the latter.
Beyonce breaks the internet, again
Beyonce is a superstar who has mastered her craft culturally and as an icon, breaking Twitter in the process - after revealing the artwork for her new album Renaissance.
The image of B atop a glowing horse sent fans and the internet into raptures. Her new album will follow 2016's Lemonade, the "visual album" that had everything - universal critical acclaim, salacious speculation surrounding Jay-Z's infidelity, and a unique sonic experience featuring guest vocals and collaborations from contemporary music royalty. It's early in the album's cycle, but Renaissance is already threatening to match Lemonade.
Beyonce is the perfect example of pop's power to influence the broader culture as she effortlessly navigates and excels in the tiny gap between controversy and purpose. She doesn't manufacture her art for the crowd but can control it with her sheer cultural significance.
Take her latest single, Break My Soul - an undisputed hit streamed over 20 million times in two days, in which Beyonce says, 'I just quit my job', lighting up social media with posts joking about taking the plunge into unemployment. And according to WSJ, it even sparked debate among economists, theorising whether Beyonce had the power to spark another wave of resignations. And while a small corner of her fanbase was calling out Beyonce for cynically ripping off the trendy sounds of house music, the broader internet was pocking fun at Drake's recent album flop, pailing in comparison to Queen Bey's club-inspired hit.
The Beyonce machine appears too powerful - stream-rolling controversy and coming out at the very top. So pay attention to this album cycle for a PR masterclass.
Another crisis for the Captain Tom Foundation
Captain Tom Moore inspired a nation in Covid's darkest days, raising £38 million for NHS charities. And in June 2020, his daughter, Hannah Ingram-Moore, and her husband set up a charitable foundation following the fundraising efforts of the late Captain Tom to continue his legacy. However, since its inception, it has been plagued with crises that risk tarnishing Captain Tom's heroic effort.
Just this week, the Charity Commission opened a case to investigate the foundation, and its links between a company the daughter and Son-in-law of Captain Tom own, who trademarked variations of the name 'Captain Tom' without objection from the charity.
This isn't the first time they have seen scrutiny from the independent charity commission, which launched a past inquiry into the foundation and use of funds but found it had not done anything wrong.
It's an example of how a simple allegation of wrongdoing can spiral into endless negative headlines threatening irreparable reputation damage. While waiting for the case's outcome, the foundation must take a backwards step and seriously revaluate its set-up and communications to rebuild the trust and brand that delivered so many amazing charities just like the man himself, Captain Tom, did.
Love Island: Gaslight, Gatekeep, Ekin-Su
Each summer, the British public is bound to relive Love Island's favourite trope of the scheming man-eater. This season's Ekin-Su Cülcüloğlu, a Turkish soap actress, descends on the likes of Maura Higgins & Megan Barton-Hanson, whose antics went down in 'herstory'. However, Ekin-Su's on-screen presence seems to be a secret sauce that confuses, seduces, and will ultimately take her fame beyond the show.
While the late joiners often seem to have trouble matching up with the already settled islanders, Ekin-Su's arrival shook viewers. The clear aim to 'find the love of her life' precluded her, she claimed, from making 'seasonal girlfriends' on the show. Therefore, her stealing the 'Italian Snack' Davide from Michael Owen's daughter was no surprise within the first few days of her arrival. When she realised the sparks weren't flying, she embarked on a personal mission to woo fellow contestant Jay. The unnoticed play for Jay (whilst still paired up with Davide) secured a special place in Love Island's hall of fame. However, Jay's cold feet didn't stop Ekin-Su from pairing up with a different athletic man, only to revisit the original Davide, for whom she is falling (again).
This ongoing saga sees Ekin-Su quickly becoming the show's most talked-about character. Her apologists, who appear to have social media superiority, typically circle back to how she represents the 'girlboss' - no man would ever be criticised for similar behaviour.
Fans portray her as an earnest person who follows her heart first, going after who she wants no matter the competition. The degree of shamelessness and sheer determination is endearing. But, at the same time, she remains a cunning, seemingly disingenuous, stab-in-the-back-type sparking Ofcom bullying complaints from viewers.
The mainstream feminist cause gets caught in its web when it fails to recognise the problematic nature of a favourite and clings to her perceived power moves. But does it matter then whether stirring the pot and switching partners are done in pursuit of love or a strategy to stay on the show for as long as possible? Or can a woman like Ekin-Su do no wrong in our eyes? Does female solidarity mean standing up for those who do not show it themselves? In essence: can we possibly not like Ekin-Su?
The actress will almost inevitably get a chance at post-show fame; such is the viral nature of her presence on Love Island. Only then will it become clearer whether her problematic antics translate into anything more sinister than cattiness. For now, however, one thing is clear: Ekin-Su is TV gold to which few can compare.